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AD  VER  TISEMENTS 


The  Maker  of    lieadville.       New  Serlal  story.     By  M.  Bradford  Whiting. 

In  more  senses  than  one,  this  story  is  off  the  beaten  track,  and  will  command  special  attention. 
The  scene  opens  in  a  Westralian  mining  town,  to  which  comes  a  wealthy  Victorian  settler,  Jaffray  by 
name.  He  meets  with  an  accident,  and  is  attended  by  Mark  Waynflete,  a  young  doctor  who,  having 
suffered  disappointments  and,  disliking  his  profession,  has  thrown  up  his  English  prospects  and  migrated 
to  Australia.  During  his  illness,  Jaffray  tells  the  young  doctor  his  story — a  tale  of  early  poverty,  ending 
in  worldly  success  as  the  builder  of  a  Victorian  town.  His  boasting  repels  Mark,  while  his  complex 
personality  fascinates  him.  He  urges  Mark  to  return  with  him,  and  after  much  hesitation  the  young 
doctor  agrees,  wi>h  the  understanding  that  he  is  to  act  as  Jaffray's  secretary  and  teach  his  only  daughter, 
Glyn,  a  lovely  and  engaging  girl  of  about  fifteen.  Such  is  the  foundation  of  a  story  which  is  full 
of  freshness  and  power,  both  in  incident  and  in  delineation  of  character. 

Things  that  Happened  on  a  Sunday. 

Great  events  in  the  world's  history  have  come  to  pass  on  the  Day  of  Rest,  many  of  them  having  a 
peculiar  significance  by  reason  of  such  a  connection.  The  present  paper  is  the  result  of  long  and  patient 
original  research,  and  therefore  has  a  value  all  its  own  as  a  collective  record  of  Sunday  happenings  of 
the  first  importance  and  interest. 

Thirza  Harwood  Decides.    By  harry  davies. 

Who  was  Thirza  Harwood?  and  what  did  she  decide?  These  queries  can  only  be  satisfactorily 
answered  by  a  perusal  of  the  story  itself,  which  is  brief  and  to  the  point.  We  can  answer  for  it  that 
Thirza  will  attract  the  interest  and  sympathy  of  our  readers  in  the  very  trying  ordeal  through  which  she 
is  made  to  pass.  As  a  sketch  of  country  life  and  character  this  idyl  will  be  much  enjoyed,  nor  vvill  its 
higher  lessons  be  missed. 

Hot  hers'  fleet  ings  for  Ladies.    By  Mrs.  orman  cooper 

Mothers'  meetinsjs  for  the  poorer  parishioners  are  a  familiar  enough  feature  of  church  work,  and 
most  useful  as  a  branch  of  spiritual  and  social  effort.  In  this  sphere  Mrs.  Orman  Cooper  is  a  recognized 
authority.  The  title  of  this  paper,  however,  suggests  an  entirely  new  and  somewhat  bold  idea,  which, 
whatever  may  be  said  for  or  against  it,  is  well  worth  the  attention  of  the  educated  laity. 

The  New  Canon.     By  agnes  giberne. 

A  complete  story  of  cathedral  life,  which  always  has  a  strong  fascination  for  the  general  reader. 
Miss  Giberne  has  written  this  story — which  is  one  of  a  series — in  her  own  inimitable  maimer.  The  new 
Canon  is  not  a  mere  ecclesiastic,  but  a  living  person,  whose  acquaintance  the  reader  will  be  glad  to 
make,  if  only  on  account  of  his  rare  unselfishness  and  self-effacement  at  a  critical  moment. 

The  nissionary  Hartyrs  of  the  Century. 

There  is  a  painful  and  yet  a  most  triumphant  significance  in  the  word  '  martyr,"  which  was  never 
more  keenly  realized  than  at  the  present  moment.  The  Rev.  A.  R.  Buckland,  M.A.,  Preacher  at 
the  famous  Foundling  Chapel,  has  written  a  powerful  article  on  this  subject,  and  to  this  contribution 
will  be  appended  a  very  complete  Roll  of  the  Martyred  Missionaries  of  the  last  hundred  years,  compiled 
from  information  specially  supplied  by  all  the  great  Foreign  Missionary  Societies  of  the  country. 

In  Praise  of  Autumn.     By  barrington  macgregor. 

The  novel  and  very  beautiful  presentment  of  this  seasonable  subject  will  be  a  pleasant  surprise 
to  our  readers.  The  charming  photographic  reproductions  in  their  settings  of  clear  facsimile  script  are 
the  work  of  the  author,  whose  faculty  for  sympathetic  description  will  at  once  be  recognized. 

All  the  usual  attractive  and  useful  features  of  this  Magazine  will  be  con> 
tinued  and  reinforced.  Christian  Endeavor  and  Temperance  Work,  Bible  Lessons 
(International  Series),  Sacred  Music,  Records  of  Missionary  and  Philanthropic 
Achievement,  will  have  due  place  in  the  New  Volume,  which  commences  with 
the  November,  1900,  number. 

Price,  15  cents  monthly  ;  $1.50  per  year 

CASSELL  &   COMPANY,  Limited 

LONDON  PUBLISHERS 

HELBouRNE  7  and  9  West  i8th  Street,  New  York 


A  D  VER  TI SEMEN  TS 


The   Quiver,   October,    1900 

CONTENTS 

Svecial  Plnte  Frontispiece-' •  A    VILLAGE  CHOIR  OF  FIFTY  YEARS  AGO." 


Nature's  Golden  Treasury.     Illustrated  . 
Concerning  Joyce 

Chaps.  \"1I.  —  IX.      Illustrated  by  Percy  Tarrant. 

A  Mariner's  Sunday  School 


Arthur  Fish 
E.  S.  Curry 


Drawn  bv  W.  H.  ^'.  TirroMi:. 


The  Life  and  Work  of  the  Redeemer: 

Work  of  Christ. 

The  Christian's  Book  of  Days.     Illustrated  . 

Finis.     A  Poem 

The  Little  Tin  Box.     Illustrated      . 

The  Home  of  the  Pilgrim  Fathers.     Illustrated 

Stories   of  the  Abbey  Precincts.     Illustrated 

Story  the  Ninth  ;  Sara's  Ideal  Man. 

Hymn  Tunes  with  a  History.     Illustrated 
Dean  Vaughan :  As  I  Knew  Him.     Illustrated 
A    Disturbing    Element.     Illustrated 

Grace  and  Truth 

Four  Girls  on  a  Farm. — IV.     Illustrated 

The  Vicar's  Treasure  Trove. — IL     Illustrated 

"  Diligent  in  Business"  :  A  Talk  about  some  Famous 

Market    Halls.      Illustrated 

The  God  of  Harvest  Praise      A  New  Hymn  Tune 
A  Fair  Weather  Prince      Illustrated 
Temperance  Topics.     Illustrated  from  Photographs 
Scripture  Illustrations  and  Anecdotes  . 
Short  Arrows: — 


The  Atoning      The  Archbishop  of  Armagh 


The  Rev.  A.  R.  Buck/and.  U.A. 
The  Rev  S.  J.  Stone,  M.A. 
The  Author  of  "Barrack  Babies 
An  American  Clergyman 
Agnes  Giberne 

J.  Cuthbert  Madden 
One  of  his  Old  Boys 
M.  Westrup   . 
R.  Somervell,  M.A 
A.  E.  Orpen  . 
J.  F.  Rowbotham 
E.  H.  Fitchew 

Sir  Walter  Parratt,  Mus.D.    . 
Myra  Hamilton 

A  Leading  Temperance  Advocate 
The  Rev.  J.  W.  Cedge,  M.A.  . 


The  Bible  in  Africa— God  Alone  Remains— Peace  or  War?— .-Kii  Annual  Grace— "Jesus  the  Messiah  " — St.  George's  Chapel, 

The  Quiver  Bible  Class 


The  Quiver  Funds 1146 

NEW   THINGS   IN   STORE 

SPECIAL    ATTENTION   is    called   to    the    Contents   of    the   NOVEMBER   PART    in    another   page   of    this   Number 
{p.  1147).  as  all  the  Important  Features  of  the  next  issue  cannot  well  be  enumerated  in  this  space.  — THE  ED/ TOR. 


J057 
1065 

1076 

1077 

1079 
io8r 
1082 
1085 
1093 

1 104 
1 109 
1 112 
1 1 20 
1122 
1 126 
1131 

1136 

"37 
1 141 

1 143 
"45 

Windsor 
II47 
1147 


SrOR/f-S    OF    THE    AlUiRY   PrECTNCIS. 


I  103 


"  [  will   not   be   afraid." 

"Thanks!"  and  they  rode  on  again  in 
silence. 

Presently  they  were  descending  a  gentle 
slope  towaids  the  railway.  "  One  of  your 
level  crossings,"  Sara  remarked,  trying  to  be 
at  her  ease.  "Yon  have  so  many  of  them 
about  here.  What  a  pretty  view  !  The 
autumn   colouring   is  lovely." 

Nobody  at  first  was  in  sight.  Then  a  girl, 
young  and  somewhat  deformed,  might  be 
seen  coming  through  the  opposite  gate.  She 
walked  heavily,  holding  by  the  hand  a  stout 
boy  of  five  or  six,  who  seemed  to  be 
strenuously  resisting  her  pull. 

"Come  on— come  on — don't  lag  so,"  she  was 
saying,  in  a  high-pitched  voice.  The  words 
could  be  clearly  heard.  "We'll  soon  be 
home.  I  'm  tired  too.  Make  haste,  there 's  a 
good  boy." 

She  cast  a  glance  up  and  down  the  line, 
so  far  as  could  be  seen  from  where  she  stood, 
and  started  to  cross.  The  boy  allowed  him. 
self  to  be  drawn  across  the  first  rail,  and 
then  plumped  down  upon  the  ground, 
actually  sitting  upon  the  second  rail  of  the 
line  farther  away  from  Sara  and  Curtis.  His 
feet  were  stuck  out  in  front,  and  he  broke 
into  a  dismal  howl.  When  the  girl  tried 
her  best  to  drag  him  up,  he  collapsed  flat 
upon   his  back. 

"  Oh,  look  !  They  oviglit  not  to  stay  there," 
exclaimed  Sara. 

Blake,  having  his  attention  absorbed  by 
his  companion,  had  not  till  this  moment 
noticed  what  was  going  on.  "Hallo!"  he 
said.     "That  won't  do." 

As  he  spoke  the  words  he  saw,  and  Sara 
saw,  a  train  approaching,  hidden  fiom  the 
girl  by  a  curve  in  the  iron  road,  but  clearly 
visible  to  the  riders. 

Blake  raised  a  shout.  "Hallo!  Get  off 
that !  "  he  called  loudly,  as  he  urged  his  horse 
neai'er.     "  Hi !    Hallo  !    Make  haste  !  " 

But  the  boy  obstinately  clung  to  the  spot, 
iind  the  girl  tugged  at  his  arm  in  vain. 

Not  yet  did  she  see  how  near  death  was 
drawing  to  them  both.  And  Sara  had  not 
instantly  realised  the  imminence  of  their  peril. 
At  first  she  supposed  the  train  to  be  upon  the 
nearer  line  of  rails.  An  abrupt  change  in 
Blake's  tone  opened  her  eyes. 

"Stop  here!"  he  said  imperiously.  "Sara! 
draw  in ! — stay  where  you  are !  Keep  back, 
I  order  you." 

Then  as  she  flushed  up,  but  instinctively 
obeyed  with  a  pull  at  her  reins,  he  spurred 
fiercely  towards  the  gate,  leaped  fi'om  the 
saddle,  tossed  the  reins  over  the  post,  and 
spi-ang  upon  the  line. 

Then  Sara  understood,  and  the  blood  rushed 
to  her  heai"t  in  a  swirling  tide,  leaving  her 
face  colourless. 


Time  for  thought  seemed  to  be  reduced  t(i 
a  mininunn.  Yet  she  did  think,  oidy  not  of 
herself.  She  had  checked  her  steed's  onwai-d 
start,  but  the  action  was  invohuitary.  Her 
whole  attention  was  riveted  on  Blake.  In 
one  instant  she  knew,  as  by  the  revelation  of 
a  lightning-flash,  that  if  he  were  slain  her  life 
would  be  void.  Only  a  few  months  mdeed 
had  passed  since  first  she  met  Blake  Curtis  ! 
But  existence  without  him 

He  was  bounding  in  strong  leaps  across  the 
rails,  shouting  something  which  she  could  not 
translate  into  words.  Evidently  the  girl 
understood,  foi'  with  a  shrill  cry  of  terror  she 
started  aside,  out  of  danger. 

The  train  was  tearing  I'ound  the  curve,  aw- 
fully close  at  hand.  A  whistle  sounded,  and 
as  Sai'a  leaint  afterwards,  the  engine  was  re- 
versed. But  the  space  between  it  and  the  boy 
was  far  too  small  for  any  hope  of  his  escape. 

Would  Blake  be  in  time?  And  if  in  time, 
could  he  possibly  move  that  heavy  child 
before  the  iron  wheels  overtook  him  ?  Was 
he  to  be  crushed  out  of  life,  there,  before  her 
very  eyes  ? 

Sara  did  not  scream.  The  tension  was  too 
great.  The  agony  was  too  intense.  W^ithout 
knowing  what  she  did,  she  let  the  reins  fall 
upon  the  horse's  neck — fortunately  she  rode  a 
quiet  animal — and  held  out  both  hands  wildly. 

"Oh,  Blake! — Blake!  Oh,  God,  have  mercy! 
— save  him  !  " 

Her  dazzled  sight  could  make  out  nothing 
clearly.  Yet  without  seeing  she  seemed  to 
know  what  others  saw,  the  extraordinary 
coolness  and  strength  and  dexterity  with 
which  he  swept  up  the  boy,  and  flung  him- 
self and  his  burden  clear  of  the  line.  In  time ! 
— but  only  in  time  !  As  his  feet  touched  the 
ground  the  train  thundered  past  behind  him. 

"All  right!"  he  called  cheerfully,  and  he 
waved  his  handkerchief  as  a  signal  to  Sara. 

Then  he  dashed  across,  and  reached  Sara, 
to  find  her  white  as  a  sheet,  panting  and 
shuddeiing,  with  hands  clasped  together. 

"  Were  you  very  inuch  startled  ? "  he 
asked. 

As  she  slid  helplessly  from  the  saddle  he 
caught  her  in  his  strong  arms,  and  would 
have  laid  her  on  the  ground,  but  she  clung  to 
him  with  the  tenacitj'  of  a  scai'ed  child.  Yet 
though  half-unconscious,  though  quite  un- 
aware of  this  vehement  clutch,  Sara  was  oddly 
awake  to  the  fact  that  on  his  face  no  change 
of  coloiu'  might  be  seen,  no  sign  was  visil)le 
to  show  that  he  had  just  had  the  narrowest 
possible  escape  from  death. 

"My  darling,"  he  said,  and  his  lips  were 
very  near  to  the  pale  cheek ;  yet  still  he 
restrained  himself.  "My  darling,  were  you  so 
frightened  ?  " 

"Oh,  Blake,  I  thought  you  would  be  killed!' 
she  sobbed. 


\^ 


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NOV  11  1932 


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jQMe- 


Ha.dcieN 


HYMN    TUNES   WITH    A    HISTORY. 


m 


KITING  just  fifty 
3'ears  asfo,  the 
Rev.  W.  H. 
Havergal  declared 
that  tlie  distinc- 
tive character  of 
the  old  Church 
tunes  had  even 
then  "  long  been 
out  of  common 
recollection."  The 
statement  was  perhaps  a  trifle  exaggerated — 
for  there  has  never  been  a  time  when  a  cer- 
tain proportion  of  the  old  tunes 
has  not  been  in  popular  use. 

Before     proceeding     to     deal 
with    individual     specimens    of 
these  old-time  hymn-  and  psalm- 
tunes  it  may  be  well,  especially 
in  view  of  our  musical  illustra- 
tions,   to    say    a   word     or    two 
about     the     early    practice    of 
assigning    the     melody    to    the 
tenor.         The      custom      would 
appear    to   have   arisen    in    Re- 
formation   times    from    a    desire 
to   render    unisonous   singing  in 
the  congregation  more  agreeable 
to     lovers     of    harmony.       The 
devout    musician,     leaving     the 
melody    to    be    sung    with    all 
simplicity  and  fulness,  employed 
a  few  superior  voices  to  encom- 
pass it  with  harmonj-,  two  parts 
being   always   added    above   the 
melody   and    one    below.       The 
practice  survived  as  late  as  the 
close  of  the  eighteenth  century, 
when    it   is   seen   in   Harrison's 
"  Sacred     Harmony,"     a     work 
which  was  long  the  authority  in 
Lancashire.      Even  when  Webbe 
issued   the  third  edition  of  this 
"  Collection  of  Psalm-  Tunes  "— 
a  work   first  published  in   1808 
— he     speaks     of     liaving    been 
"  apprehensive  that    its    circula- 
tion would    be  considerably  im- 
peded    by    deviating    from    the 
common,    but   absurd,   usage   in 
works   of  this   kind  of  convert- 
ing  the  melody  into   the  tenor, 
and  of  employing  only  the  treble 
or  G  clef  for  the  three  parts  above 
the  bass."     The  modern  method 


assumes  that  the  singers  shall  be  proportion- 
ately distributed  among  the  various  parts  j 
the  ancient  method  was  based  upon  the  con- 
viction that  the  great  majority  of  the  people 
would  sing  the  melody  only,  while  the  har- 
mony was  meant  to  aflford  scope  for  the 
attainments  of  the  skilful  few,  and  thus  be- 
came merely  a  graceful   appendage. 

And  now  let  us  look  at  one  or  two  of 
the  old  tunes.  Suppose  we  begin  with  the 
Easter  Hymn,  "Jesus  Christ  is  risen  to-day," 
with  its  florid  "  Alleluias."  The  history 
of    this     stirring    melody,    which    still    holds 


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lorYiLction. 


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Sesuj  U/iiHdTt  LsC/usan,  to    opuu   J^nl&-J-fatu'un  atb 


"iW    P   \'  ^   g   \^\   ^'NfT 


';-.)  J  J'  ^  ^m##^^ 


Our  tj^inp^Anni;crwm^oy  JT/^i/u-^rrouefii/'an^ 


y-t]^  J^  >    <} 


^m 


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1-T 


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M  [m  ^  ^  \rh-u^ 


JuS^-r 


OTMT 


e^  fffa&Mirf/uu,^. 


'■':U'  Ufj  I  ^\i[  i'JJr^ 


T\i\Ayu^fxrit 


TUNE    AS    GIVEN     IN    "LYRA    OAVIOICA." 


Hymn  Tunes  with  a  History. 


1 105 


its  own  in  spite  of  attempts  to  supersede  it, 
has  been,  and  continues  to  be,  somewhat 
unfortunate.  In  Dibdin's  "  Standard  Psahn 
Tune  Book,"  published  in  1852,  we  read  of 
it :  "  Dr.  Rimbault  has  seen  this  tune  in 
the  'Lyra  Davidica,'  by  Walsh,  1708,  where 
the  composition  is  ascribed  to  Henry  Carey. 
A  note  in  Callcott's  '  Musical  Grammar ' — a 
work  noticeable  for  its  careful  editorship — 
confirms  the  Doctor's  statement.  The  com- 
mon prefix  of  Worgan's  name  to  the  tune  is 
therefore  erroneous."  Alas  !  yes.  And  so  is 
the  ascription  of  the  tune  to  Carey  !  What- 
ever Rimbault  may  have  seen,  no  composer's 
name  is  given  in  the  "  Lyra  Davidica,"  nor 
is  Carey  mentioned  at  all.  It  is  strange  to 
note  with  what  tenacity  the  name  of  Dr. 
Worgan  has  clung  to  this  old  melody.  As  a 
matter  of  fact,  the  tune  appeared  sixteen 
years  before  Worgan  was  born.  How  it 
ever  came  to  be  associated  with  his  name 
has  long  been  a  puzzle  to  those  who  know 
the  real  facts  of  its  history.  The  following 
is  an  exact  reproduction  of  the  tune  as 
it  was  first  printed  in  the  "  Lj^ra  Davidica  " 
of  1708. 

The  hymn,  it  may  be  added,  is  followed 
by  "  A  Resurrection  Dialogue  "  of  ten  stanzas 
to  the  same  tune.  It  is  much  to  be  re- 
gretted that  the  name  of  the  composer  of 
so  popular  a  melody  cannot  be  ascertained, 
but  it  is  really  time  that  we  had  heard 
the  last  of  Dr.  Worgan's  name  in  connec- 
tion   with    it. 

Another  hymn-tune  of  a  somewhat  kin, 
dred  character  has  also  had  a  confused 
history.  We  refer  to  "  Helmsley,"  so  long 
associated  with  the  Advent  Hymn,  "  Lo ! 
He  comes,  with  clouds  descending."  Mu- 
sicians rightly  point  to  the  somewhat  bois- 
terous style  of  this  tune  as  a  reason  foi- 
supplanting  it,  but  "  Helmsley "  keeps  its 
place  notwithstanding.  It  is  certainly  me- 
lodious, and  it  represents  a  part  of  the  his- 
torical life  of  the  Church,  which  must  be 
allowed  to  count  for  something.  And,  after 
all,  its  vulgarity  is,  perhaps,  to  some  extent 
imaginary  ;  for  the  popular  misconception 
of  the  tune's  having  been  derived  from  a 
hornpipe  melody  leads  the  popular  mind  to 
see  what  it  expects  to  see.  At  any  rate, 
the  notion  is  exceedingly  unfaii'  to  the  tune ; 
for  instead  of  "  Helmsley  "  having  been 
adapted  from  the  hornpipe,  the  hornpipe 
was  very  likely  adapted  from  "  Helmsley " ! 
The  statement  usually  made  is  this  :  that 
"  Helmsley "  traces  its  origin  to  a  hornpipe 
danced  by  Miss  Catley  in  The  Golden  Pijjpin, 
produced  at  Covent  Garden  in  1773.  Now 
this     is     very     easily     disposed     of,      because 


"  Helmsley "  was  published  by  John  Wesley 
in  1765,  under  the  name  of  "Olivers,"  thus 
preceding  The  Golden  Pippin  by  eight  years. 
The  tune,  according  to  a  tradition  among 
musical  Wesleyans,  was  the  composition  of 
Thomas  Olivers,  one  of  John  Wesley's  travel- 
ling preachers ;  and  as  it  bears  his  name  in 
a  collection  issued  by  Wesley  himself  while 
Olivers  was  alive,  there  is  no  reason  to 
doubt    the    tradition. 

The  tune,  it  may  just  be  added,  was 
first  called  "  Helmsley "  in  the  Lock  Hos- 
pital collection  of  1769,  published  by 
Madan,  the  chaplain  of  that  institution, 
who  was  a  cousin  of  William  Cowper.  As 
usually  harmonised  it  is  somewhat  weak, 
but     under     the     clever   hands    of    the     late 


THOMAS     OLIVERS. 

Henry  Smart  (see  his  "  Choral  Book ")  it 
is  transformed  into  a*  stirring  and  dignified 
melodj''.  There  is  another  fine  arrangement 
in  Hugo  Pierson's  little-known  oratorio, 
Jerusalem. 

In  the  ever-popular  "  Wareham "  we. 
have  a  fine  old  tune,  constructed,  with 
one  exception,  from  consecutive  notes  of 
the  scale.  The  composer  of  "Wareham," 
William  Knapp,  was  born  at  the  little 
Dorsetshire  town  from  which  the  tune 
takes    its     name.        One    of     the    editions     of 


828 


lio6 


The  Quiver. 


his     "  Sacred     Haimony "     contains     a     steel      appears      for 
portrait    of    tlie    composer,    \\\\\\     the    inscrip-      "Sett    of    Xew 


Wareham  Tune.     PSALM  XXXVI,  Verfei  5,  6,  7,  8, 
9,  10.     Tor  the  Holy  Sacrament. 

But,  Lord,    thy     Mercy,   my   fare    Hope,      a— bove    the    beav'n-ly 


:qz: 


But,  Lord,  thy     Mercy,     my   fure   Hope,      a — bove   the    heav'n— ly 


:q: 


6  Tby  Juflice  like  the  Hills  remain;,  unfathonrd  Depths  thy  Judements  are  ; 
Tby  Providence  the  Wo4d  fuftains,  the  whole  Creation  is  thy  Care. 

7  Since  of  thy  Goodnefs  all  pjirtakc,  with  what  Artiirancc  fliould  the  Juft 
Thy  (heli'ring  Wings  their  Refuge  make,  and  Saints  to  thy  Proteftion  trull  f 

Continued. 

FROM      KNAPPS     -SETT     OF     NEW     PSALMS,     TUNES,     AND     ANTHEMS." 
(The  tuiit  is  in  the  third  line.) 


the  first  time  in  Knapp's 
Psahn  Tunes  and  Anthems 
in  four  parts,  on  various 
occasions,"  1738.  It  is 
wedded  to  Psalm  xxxvi., 
"  for  ye  holy  sacrament," 
is  in  key  C,  and,  like 
all  the  tunes  of  its 
time,  has  the  melody  in 
the       tenor.  In       1754 

Knai)p  published  another 
collection  under  the  title 
of  "New  Church  Melody." 
Here  "  Wareham  "  re- 
appears as  "  Blandford," 
and  in  common  time.  It 
is  now  set  to  "  Psalm 
139th,  New  Ver.,  A  4 
voc,"  and  over  the 
music  we  have  this  direc- 
tion :  "  The  above  and  ye 
following  tune  are  set  in 
the  two  natural  keys,  viz. : 
one  the  natural  7  key 
and  C  fa  ut  the  natural  f 
key,  and  when  sung,  to  be 
repeated  every  line."  The 
fii-st  line  of  "Blandford" 
will  give  an  idea  of  the 
transformation  : 


tion,  "  Guil.  Knapp,  setat.  54,  a.d.  1753." 
He  was  therefore  born  in  1698  or  1699. 
Very  little  seems  to  be  known  regarding 
him.  He  is  said  to  have  been  organist  of 
one  of  the  Wareham  churches,  but  the 
statement  wants  confirmation.  AVhat  is 
known  with  certainty  is  that  he  settled  at 
the  neighbouring  town  of  Poole,  and  was 
palish  clerk  of  St.  James's  Church  there 
for  a  period  of  thirty-nine  years.  He  died 
in  1768,  and  was  buried  at  Poole,  "-.some- 
where near  the  old  town  wall,"  according 
to  one  of  his  descendants  now  (or  recently) 
living  in  Manchester.  There  is  a  curious 
reference  to  him  in  a  pamplilet  published 
in  1743  bj'  "a  land  waiter  in  the  Port  of 
Poole."  The  writer  prays  to  be  delivered 
from  certain  terrible  things — "  From  Pope 
and  Swift,  and  such-like  men,  and  Cibber's 
annual  lay "  ;  from  doctors'  bills  and  hvNvyers' 
fees,    and    so    on— 

■'And   what  is  ten   times   worse   than   these: 
George  Savage  and   Will  Knapp." 

Savage  was  sexton  of  the  parish,  which 
explains  the  uncomplimentary  reference  to 
him  ;  in  Knapps  case  the  matter  is  not  .so 
plain.      But    as    to     "Wareham."       The     tune 


The  melody  is  slightly  altered,  and  the 
harmonies    are    entirely  different. 

"  Bedford "  is  another  of  our  old  tunes 
which  takes  its  name  from  the  place  of 
residence  of  its  composer.  William  Weale 
— or  as  his  name  is  sometimes  given, 
Wheall  —  graduated  Mus.  Bac.  at  Cam- 
bridge, in  1719,  and  that  is  the  first 
we  hear  of  him.  He  was  organist  of 
St.  Paul's  Church,  Bedford,  and  probably 
received  that  appointment  when  the  organ 
was  erected  there  by  Gerard  Schmidt  in 
1715.  AVeale  is  generally  represented  as 
lia^dng  died  in  1745,  but  a  recent  examin- 
ation of  tlie  burial  records  of  St.  Paul's, 
Bedford,  shows  that  he  died  in  September, 
1727.  It  seems  to  be  impossible  to  fix  tlie 
date  of  the  first  appearance  of  "  Bedford." 
It  is  more  than  piobable  that  the  tune 
was  printed  during  the  lifetime  of  its  com- 
po.ser,  but  the  most  industrious  antiquaries 
can  find  no  notice  of  it  until  it  appears 
in  the  "Psalm  Singer's  Companion"  of  1729. 
It  ha.s  a  place  in  Michael  Broom's  "  Choice 
Collection      of       Psalm       Tunes,"       published 


Hymn  Tunes  with  a  History. 


1 107 


at  Isleworth,  Middlesex,  about  1731,  where 
it  is  assigned  to  "  W.  Weale,  organist 
uf  Bedford,  B.  of  M."  Again,  in  Mattliew 
Wilkins'- "  Book  of  Psalmody,"  published  also 
about  1731,  it  appears  with  certain  quaint 
syncopations,  wliich  have  now,  of  course, 
entirely  disappeared.  Here  is  the  first  line 
in  this  vei'sioii : 


r 


^^ 


^- 


position  of  John  Milton,  tlie  father  of  the 
poet ;  but  all  that  Milton  did  was  to 
"  compose  it  into  four  parts  " — tliat  is,  har- 
monise it — for  Ravenscroft.  It  is  a  pity 
that  we  cannot  ascribe  the  melody  to 
]\Iilton,  for  he  is  remembered  specially  on 
account  of  his  faculty  for  music,  and  his 
abilities  in  tliat  direction  are  celebrated 
by  his  son  in  a  Latin  poem.  He  had  an 
organ  and  other  instruments  in  his  house, 
and  much  of  his  spare  time  was  given  to 
musical  study  and  recreation.  The  tune 
There  is  a  similar  syncopation  at  tlie  "  York  "  is,  however,  presumably  of  Scottish 
close  of  every  line  ;  in  the  original  version  origin,  since  it  appeared  for  the  first  time 
tliese  syncopations  occur  only  in  the  second  in  an  Edinburgh  psalter.  We  have  thought 
and  fourth  lines.  "  Bedford,"  it  need  it  more  interesting  in  this  case  to  give  it 
hardly  be  said,  has  been  tinkered  like  as  it  stands  in  Ravenscroft,  for  the  sake 
e\ery  other  old  melody.  The  harmonies  of  Milton's  harmonies.  These  harmonies, 
have  been  altered  very  freely  ;  but  this  is  it  need  hardly  be  added,  have  not  always 
a  small  matter  compared  with  the  changt>  been  respected  by  editors, 
which     is     sometimes     made    from     triple    to  The   last    tune    that    we    shall    have    space 

quadruple  time.  It  is  matter  for  regret  to  deal  with  is  the  venerable  "  Tallis's 
that  the  editors  of  "Hymns  Ancient  and  Canon,"  .so  long  associated  with  Ken's  "All 
]\Iodern "  have  perpetuated  the  connnon-time  praise  to  Thee,  my  Gofl,  this  night."  About 
version;  there  is  no  authority  whatever  for  the  year  15-57,  during  his  exile,  Archbishop 
it,  any  more  than  for  the  extra  passing  Pai-ker  completed  his  versification  of  the 
note  which  is  invariably  added  in  the  Psalms.  Some  three  years  afterwards  the 
penultimate  bar  of  the  melody.  It  is  volume  was  printed,  but  it  was  never 
interesting  to  note  that  Weale's  tune  was  actiially  published,  and  oidy  four  or  five 
played  hourly  by  the  chimes  of  St.  Paul's,  copies  are  known  to  be  in  existence. 
Bedford,  from  the  middle  of  last  century  It  is  a  fortunate  circumstance  tliat  the 
until  the  bells  were  taken  down  .some  years  work  has  survived  at  all,  inasmucli  as  fi'om 
ago  for  repair  of  the  tower.  it    M^e    get    not    only    the    "  Canon,"    but  also 

And    that    reminds    us    of    anf)tliei     of    our      the      fine      old     conmion-metre     tune     known 
favourite    old    tunes.       Next    to 
the    Old     Hundredth,     "York" 
was     once    the     most     popular 
Church    tune   in  England.       Sir 
John  Hawkins,  writing  in  1776, 
said    of    it :     "  Within     memory 
half      the     nurses     of     England 
were    used    to    sing    it    by    way 
of    lullaby,    and     the    chimes   of 
many      country    churches     have 
played    it   six  or  eight  times  in 
four-and-twent}'  hours  from  time 
immemorial."     The  tune  appears 
first   in   the  Scottish    Psalter  of 
1615,  where  it  bears  the  curious 
name     of    "  The    Stilt."      Some 
ingenious      individual      suggests 
that  this   name  may  have  been 
given    to    it    from    the    peculiar 
stilt-like    progression  of    the    in- 
tervals  in   the  opening  line  1     When  Ravens-      generally   as   "Tallis's    Ordinal."      There  were 
croft    printed     it     in    his  "   Whole    Booke    of      in     all     nine     tunes    in    the    Parker     Psalter, 
Psalmes,"     1621,     he     expressed    an    opinion      one    in     each     of    the     eight    modes,    and    a 
that    It    was    "a    northern    tune,"   yet   it    was      tune    for    the    "  Yeni    Creator,"  all   by    Tallis 
he     who     called     it      "York."       There     is     a      The     composer     thus     quaintlv     characterises 
general    belief    that    the    tune    was    the    com-      the    eight  : 


P(dme  66.  CANT  VS.  hhn  Mdton. 

r:rr^"-ar*rx=:s::$r:ftc«=:;t,-:-^ — ^  — \—xt-z — s-tV' 


BeiDcnonearthia  Go4  reioyc*,  vvkh  p»ire  ftt  forth  hit  nOBtt 


Extall  his  might  ?vitKhf art  and  voyce,  giueglory   tocl>cfaiiie< 

Jorke  Tunc.      TSiVOT^^ov  P/aynfo^c.  ^^^^^ 
.  Eemcnonearth  in  Godicioyce,  with  praiTc  fetforth  bis  name : 

iiiiiiiiiiiiiiiliiii^ 

GxcoUhisinight  vvlthbejit  and  foyce,  gin;  ^lotyto  cbe  iuat, 

FR^M     RAVENSCROFTS     "THE     WHOLE     BOOK     OF     PSALMS     WITH     TUNES," 


iio8 


The  Quii'Ek. 


"  THE  NATURE  OK  THE  EYOHT  TDNE8. 


■  1.  The  flrsi  is  iiieeke  :  devout  to  see, 
3   The  second  sad  :  in  majesty. 
3.  The  third  doth  rage  :  and  roughly  brayth. 
I.  The  fourth  doth  fawnc  :  and  flattry  playtb. 


THOMAS     TALLIS. 


5.  The  fifth  deligth  :  and  laugheth  the  more, 

6.  The  sixt  bewayleth  :  it  weepeth  full  sore. 

7.  The  seventh  tredeth  stoute  :  in  froward  race, 

8.  The  eighte  goeth  milde :  in  modest  pace." 


"The  Tenor  of  those  partes  bo  for  the  people  when 
they  will  syng  alone,  the  other  partes  put  for  the 
greater  queers  [choirs],  or  to  suche  as  will  syng  or  play 
them  privately.' 

Tlif  "  milde  eiglite "  is  the  tune  wliicli 
afterwai-ds  became  known  as  "  Tall  is'  Canon." 
It  will  be  seen  that  the  original  is  twice 
as  long  as  the  present  form,  each  .section 
being  repeated  before  proceeding  to  the 
next.  Moreover,  the  tenor  leads  in  the 
canon,  whereas  now  the  soprano  leads.  It 
was  llavenscroft  who  reduced  the  tune  to 
its  present  dimensions,  when  he  set  it  to 
"  A  Psalme  before  Morning  Prayer,"  in  his 
collection  of  1621.  After  that,  it  soon  be- 
ne shockingly  corrupted :  the  melody  was 
a.iered,  the  canon  was  omitted,  and  passing 
notes  ad  nauseam  were  introduced.  It  was 
called  "  Brentwood,"  "  Evening  Hymn," 
"Magdalen,"  "Suffolk,"  and  one  knows 
not  what  else ;  and,  as  Dr.  Rimbault  once 
said,  hardly  could  it  be  recognised  in  its 
unredeemed  vulgarity.  Happily  we  have 
long  since  got  back  to  nearlj'  the  original 
form  of  the  tune,  and  now  there  is  as 
little  chance  of  its  being  mangled  as  there 
is  of  the  fine  old  hymn  to  which  it  is 
sung   being    "  edited." 

J.    CUTHBERT    HaDDEN. 


2<?0  ^  Pfalme  hfore  Aiormn?  Prajer,CA  NT  VS.  T.TdSu, 

Cannoa  a. parts  In  one. 


li^tt  O  praife-bim  all  people  morcall,  as  it  is  mod  vrorthie  md  ligbt. 
TENO\,OX  Playnfon^. 

Kiife  the  lordO  yeGcniUes  tll.vrhich  h4th  brougtityou  into  his 
JigbttO  praifo  him  all  people  moniU,  39  It     israoA  vvonhic  aod  li^bt. 


For  he  is  full  dtteimined, 
oD  TS  to  poure  out  bis  mercy : 


And  thcLords  trut^  b eye  arTuied* 
abidctb  perpetually. 


A     PSALME     BEFORE     MORNING     PRAYER." 


<^    0efu 


K/nt/M/yrh. 


ll    I  ;  ,f>  i|jj^^ 


■^^ 


Sesva  U/wist isC/us&n.  to'gpy   J'ia(^-CHaiU'fin an> 


m 


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J  J  U  M,jai^^ 


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^r  tfni7nD^A£mI^,Jt^^Qy  jTCifd-^Haf/e^a'aAA. 


>p  I'j^  ;jj.h^fitn4 


f  njQ-^  p  f  i^te 


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"/  C  f>'T.  T  ^f  g  f  I C  P  p  p  r 


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p 


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UuS^r^a  to  redeeon  m^/r  w^  ^a£& cnauetadaA . 


yH  HM  ^ij^^ 


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